Monday, 28 April 2014

In a scene where
your character gets angry, you want the reader to share that anger. If the
character is scared, you want the reader to feel that fear. If a character
being interviewed for a job feels nervous and his leg is bouncing up and down,
it’s very rewarding to be told by a reader that their knee started
sympathy-bouncing when they were reading that scene.

Putting the reader
into a character's shoes by having them experience the same emotion is
a powerful tool and a great way to form a connection between story and
audience. But this isn’t always just a simple matter of describing what the
character is experiencing and hoping the reader will be immersed into their
world.

Moreover, not all states
of mind are equally interesting to be immersed in. An insane character, a
disoriented character, a bored character, these can all be accurately conveyed,
but should they be?

Monday, 21 April 2014

It doesn’t matter
what kind of character is at the centre of a story, they will all face the same
fundamental issue. Something needs to be done and they have to be the one to do
it.

The world needs
saving, a toy needs buying, or a heart needs winning, but before you get to that,
first the character has to make the determination that they are going to act
rather than give up and go home.

Whether they succeed
or fail depends on the story you want to tell, but whether they try is not up
for debate, because otherwise you wouldn’t have a story. So you have to have a
character that decides to act and keep going no matter what. But what is that
makes them unable to walk away? Understanding what drives them will provide you
with a core element of the character, and the driving force behind your
narrative.

Monday, 14 April 2014

Occasionally I will
get questions from new writers and by far the most common concern plot. The
aspiring novelist will have a very strong grasp of who they want to write about
and where proceedings will be set, but actually coming up with a plot seems
daunting.

For some people the
events that take place are the first things they come up with, but if that isn’t
how it works for you then having an intimate knowledge of your main character
is still an excellent route to working out what the story will be about.

Bear in mind that
even the most inexperienced of writers is still a hugely experienced reader. We
have all been reading, hearing and watching stories for many years. But while
everyone feels confident in their ability to judge whether those stories are
good, bad or indifferent, when it comes to our own writing it becomes much more
tricky to gauge.

If you have a strong
sense of how a story will go that’s all well and good, but if you don’t then here are three steps that will help demystify the process.

Monday, 7 April 2014

As readers we like
to see characters struggle. It’s entertaining and thrilling. But that’s what
it’s like for the reader. For the character, struggle serves another, less
obvious purpose. One that can easily be overlooked.

When a butterfly
emerges from its cocoon, it is frail and weak. But it has to use up all the
energy it has to break out of the little prison its caterpillar-self made.

However, if you were
to lend a helping hand and make an incision in the side of the cocoon, enabling
the butterfly to emerge quickly and easily, the butterfly would die.

Because that immense
effort isn’t just there to make life hard, it’s there to give the butterfly the
strength it needs to be able to fly. By struggling against its surroundings,
the new body is able to stretch and flex and gain power.